This @tnyfrontrow essay on Mank, Orson Welles, and Pauline Kael is great. I have to say, I think the backlash against Kael's Raising Kane has gone too far and overlooks the valuable criticism in the book.https://www.newyorker.com/culture/the-front-row/herman-mankiewicz-pauline-kael-and-the-battle-over-citizen-kane?utm_source=twitter&utm_medium=social&mbid=social_twitter&utm_social-type=owned&utm_brand=tny …
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If Alice Munro co-wrote with me an attack on you where the only byline was from me, it would seem dodgy.
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Especially since Welles was a notorious fabulist.
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He wasn't, though - one common thread from his multiple biographers is that even his most outlandish claims tended to be at least mostly factual
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I'd certainly say it's a breach of journalistic ethics, but not quite the same. B. makes clear that he and W. were in agreement and were friends; B. calls him "Orson" and copiously quotes from his personal letter; neither deceived the other or distorted the other's findings.
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Also, Bogdanovich made his sources clear, whereas one of the big controversies around Kael's essay is that she lifted (and distorted) research from another historian without credit
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So a movie, about a review of a movie, the attack on the review, and the attack on the attack. All in all, it is fascinating
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You forget that John Houseman was speaking through Kael too and that Kael chose to ignore Welles’ side of the story and plagiarize a scholar’s work. Kael’s wrong too (at least 2-3 scenes were written solely by Welles, who also made “transformative” revisions on the whole script.
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When a book engages in that kind of dishonesty, the “valuable criticism” gets lost.
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